Ruben Salgado – Solarni portreti

Instituto Cervantes

08. – 30.juna 2017.

 

Portreti prikazani na ovoj izložbi govore o životima stanovnika udaljenih područja koji po prvi put imaju pristup struji, zahvaljujući solarnoj energiji. Svakog od njih autor je pitao na koji način je činjenica da imaju struju uticala na njihov svakodnevni život – tako su portreti pravljeni u njihovom uobičajenom okruženju, u skladu sa onim što su odgovorili na postavljeno pitanje. Ove scene osvetljene su samo sijalicama koje se napajaju solarnom energijom i unapređuju kvalitet njihovih života. Ovaj projekat dobio je priznanja od više institucija, poput prestižne nagrade Sony World Photography Award, Portraits Category. Picture of the Year (POY) Latam, a bio je i finalista nemačke nagrade NANNEN PREIS 2016. Izložba je prikazana u osam zemalja, uključujući i Sonijevu galeriju u Tokiju, na Festivalu fotografije u Arlu, na festivalu Angkor Photo u Kambodži…

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Uncensored Books – Natasha Christia

gallery O3on

7th – 17th of April 2017.

Photobooks and installations by Valentina Abenavoli (Akina Books), Patricia Almeida (Ghost Editions), Francesco Amorosino (self-published), Julián Barón (KWY Ediciones), Lukas Birk (dummy-self- published), Lewis Bush (dummy-Brave Books), Brad Feuerhelm (Chaco Books), Amak Mahmoodian (ICVL Studio / RRB Publishing), Christof Nuessli (Cpress), Carlos Spottorno (Astiberri Ediciones), Europe: An Illustrated Introduction to Migrants and Refugees and Fictional Journal.

Photobook projects by: Patricia Almeida (Ghost Editions), Julián Barón (self-published / Editorial RM), Martín Bollati-Rigoberto Díaz Julián-Verónica Fieiras (Chaco Books), Brad Feuerhelm (Paralaxe Editions), Ben Helton (self-published),Edmund Clark (Here Press), Yannis Karpouzis (dummy), Daniel Mayrit (Phree / Riot Books), Christof Nuessli (Cpress), Elisabeth Tonnard (self-published), Jan Dirk Van Der Burg (self-published), and others.

“Uncensored Books” brings together a series of photobooks and installations that address in a critical way, through both their content and form, the production, uses / misuses, consumption and circulation of the Image today within dominant mass ideology’s narrative systems. By exploring new dissemination and audience engagement channels, many of its featured titles point to the potential role of photography and books can assume as activism tools. Many photographers employ recycling, appropriation and manipulation of existent images encountered on the Internet and social media, as a means of exploring new ways of storytelling, while addressing the political issues inherent in the circulation and use of images. Others perform and expose through their works the present uses of the Image as a tool of political and economical control amidst the contemporary media scape, placing special emphasis on the fundamental role of the viewer in the dissemination of the final
meaning.

The exhibition will be structured in the following five chapters:

Chapter 1: Manifestation of Decline < Archival Recollection of Symbols
Group 2: Grievance and Protest < Private and Public Secrets
Group 3: Identity Claim < Activating the Subject
Chapter 4: Dissemination and Participatory Modes < Towards a New Making
Chapter 5: A Further Index < Books and Collaborations

“Uncensored Books” is curated by Natasha Christia and dedicated to Lorenzo Tricoli.

Image credit:
© Amak Mahmoodian: Shenasnameh.

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Necenzurisane knjige – Nataša Kristia

galerija O3on

07. – 17.aprila 2017.

Izložba uključuje foto-knjige i instalacije sledećih autora: Valentina Abenavoli (Akina Books), Patricia Almeida (Ghost Editions), Francesco Amorosino (u sopstvenom izdanju), Julián Barón(KWY Ediciones), Lukas Birk (dummy, u sopstvenom izdanju), Lewis Bush (dummy-Brave Books), Brad Feuerhelm (Chaco Books), Amak Mahmoodian (ICVL Studio / RRB Publishing), Christof Nuessli (Cpress), Carlos Spottorno (Astiberri Ediciones), Europe: An IllustratedIntroduction to Migrants and Refugees and Fictional Journal; kao i projekte foto-knjiga autorakao što su: Patricia Almeida (Ghost Editions), Julián Barón (u sopstvenom izdanju/ Editorial RM), Martín Bollati-Rigoberto Díaz Julián-Verónica Fieiras (Chaco Books), Brad Feuerhelm(Paralaxe Editions), Ben Helton (u sopstvenom izdanju ), Edmund Clark (Here Press), Yannis Karpouzis (dummy), Daniel Mayrit (Phree / Riot Books), Christof Nuessli (Cpress), Elisabeth Tonnard (u sopstvenom izdanju), Jan Dirk Van Der Burg (u sopstvenom izdanju) i drugi.
Projekat Necenzurisane knjige predstavlja odabir foto-knjige i instalacije koje, kako u pogledu forme tako i u pogledu sadržaja, na kritički način preispituju proizvodnju, upotrebu/zloupotrebu, konzumaciju i cirkulaciju Slike u okviru narativnih sistema danas vladajuće masovne ideologije.Istražujući nove kanale diseminacije i privlačenja publike, mnogi od prikazanih naslova ukazuju na potencijalnu ulogu fotografije i knjige kao oruđa aktivizma. Mnogi fotografi primenjuju recikliranje, prisvajanje i manipulaciju postojećim slikama koje se nalaze na internetu i društvenim medijima, kao sredstvo iznalaženja novih načina pripovedanja, istovremeno se baveći političkim pitanjima neraskidivo povezanim sa cirkulacijom i upotrebom slika. Drugi, pak, kroz svoje radove razotkrivaju i pokazuju upotrebu Slike kao sredstva političke i ekonomske kontrole u savremenom medijskom prostoru (mediascape), stavljajući poseban naglasak na fundamentalnu ulogu recipijenta u diseminaciji konačnog značenja.
Strukturu izložbe čini pet celina:

Odeljak 1: Manifestacija pada – arhivska kolekcija simbola

Odeljak 2:  Nepravda i protest – lične i javne tajne

Odeljak 3: Izjava identiteta – aktiviranje Subjekta

Odeljak 4: Diseminacija i načini participacije – prema novom stvaranju

Odeljak 5: Mogući pokazatelj za dalje – knjige i saradnja

Autorka izložbe Nezenzurisane knjige, kustoskinja Nataša Kristia ( Natasha Christia), izložbu
posvećuje Lorencu Trikoliju ( Lorenzo Tricoli).

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2 in 1 – Nenad Vilimanovic

Gallery Stara Kapetanija
The project idea is something like a “spontaneous” or “natural” diptych, or the diptych occurring in the initial process of creating photo and as such represents two completely separate frames in one shot on one photo (2 in 1).Diptych by definition represents two works of art that stand side by side, and although different, together act as a whole.Often, only one photo frame contains two plans – two frames which can stand quite equal as individual images that tell two stories, and yet they are together and form a whole.
Author intended that every photo has clearly visible demarcation lines of the two frames and right in the middle, so that each frame has a fully equal treatment in all respects. This allowes him to achieve the desired effect of diptych. Such photos can be cut in half and you get two photographs, and also more such photos can be added, to one another in an endless sequence.
All photos were taken during 2016 in the urban environment.
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2 u 1 – Nenad Vilimanović

Umetnička galerija Stara Kapetanija

05 – 15. april 2017.

Ideja projekta je nešto kao „spontani“ ili „prirodni“ diptih, odnosno diptih koji je nastao odmah u inicijalnom procesu stvaranja fotografije i koji predstavlja dva potpuno odvojena kadra u jednom kadru na jednoj fotografiji (2 u 1). Diptih po definiciji predstavlja dva umetnička dela koja stoje jedno pored drugoga i iako različiti, zajedno čine jednu celinu. Neretko se dešava da samo jedan fotografski kadar sadrži dva plana – dva kadra koji mogu sasvim ravnopravno da stoje kao pojedinačne fotografije koje pričaju dve priče, a ipak su zajedno i čine jednu celinu. Želja autora je bila da na svakoj fotografiji bude jasno vidljiva linija razgraničenja ta dva kadra i to tačno na sredini, tako da svaki kadar ima potpuno podjednak tretman u svakom pogledu. Time se postiže željeni efekat diptiha. Takva fotografija može da se preseče na pola i dobiju dve fotografije, a takođe više takvih fotografija može da se nadoveže jedna na drugu u beskonačan niz.

Sve fotografije su nastale tokom 2016. godine u urbanom, gradskom okruženju.

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H. said he loved us – Tommaso Tanini

Instituto de Italiano di Cultura Belgrado

4th – 25th of April 2017.

Exhibition curated by Natasha Christia

TommasoTanini’s H. said he loved us draws on the story of the GDR and the German Ministry for State Security (STASI) to explore the feelings of oppression and dread caused by living in a state of constant suspicion and diffidence. Following three years of travels and investigations in Germany, the project mingles archival and documentary research with a personal and subjective photographic investigation stepped on literary references and fictional narratives. An elegantly oppressive allegory of authoritarianism and domination, H. said he loved us was originally inspired by Corrado Alvaro’s dystopic novel “L’Uomo è Forte”. Published back in 1938, the book was a ferocious critique towards totalitarianism and its abuses of paranoia and instilled fear to control the masses.

The images of H. said he loved us are immersed in a world devoid of names and references. Portraits of five Stasi victims (all betrayed by people they trusted and loved, family members and friends), alongside anonymous corners and trivial details of East Germany cityscapes generate an unresolved tension between the act of spying and being spied upon. These pictures, partly cinematic and partly forensic, resonate with the sense of unease that pervades Alvaro’s book. They become a sinister background of the documentary material recollected by Tanini and enigmatic
monuments echoing the feelings of the people he encountered during his research. Emerging from this austere landscape as a loose, anonymous patchwork of documents, autobiographical notes, found images and portraits, the stories of the STASI victims are reactivated as fragmented albeit vivid and interactive accounts.Structured as a rich mosaic of traces and suggestions, H. said he loved us subtly warns us about the cyclical and evil nature of any form of totalitarianism, without imposing any unilateral vision or clichés. At the same time, it brings onto the surface the ghosts of a dreadful historical reality that has ruled GDR and not only – a reality that has been deliberately excluded from the founding myths of the post Cold-War Era European unity.

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H je rekao da nas voli – Tomazo Tanini (Tommaso Tanini)

Italijanski institut za kulturu

04. – 25. april 2017.

Kustos izložbe je Nataša Kristia/Natasha Christia

Umetnički projekat Tomaza Taninija H. je rekao da nas voli crpi inspiraciju iz priče o Istočnoj Nemačkoj (NDR) i njenom Ministarstvu za državnu bezbednost (Štazi), a istražuje osećanja otlačenosti i straha koja generiše život u atmosferi konstantnog sumnjičenja i nepoverenja. Tri godine putovanja i istraživanja po Nemačkoj rezultiralo je radom koji predstavlja kombinaciju arhivskog i dokumentarnog sa ličnim i subjetivnim fotografskim istraživanjem oslonjenim na književne reference i fikcionalne narative. Elegantna alegorija autoritarizma i vlasti, H. je rekao da nas voli je prvobitno bila nadahnuta distopijskim romanom Korada Alvara (Corrado Alvaro) „Čovek je jak“ (“L’Uomo è Forte”). Prvi put izdat 1938, taj roman predstavlja nemilosrdnu kritiku totalitarizma i upotrebe paranoje i indukovanog straha za kontrolisanje masa. Prizori iz projekta H. je rekao da nas voli uronjeni su u svet lišen imena i refrenci. Portreti pet žrtava Štazija (koje su sve izdali ljudi kojima su verovali i koje su voleli, članovi porodice i prijatelji) zajedno sa nepoznatim lokacijama i trivijalnim detaljima gradskih pejzaža Istočne Nemačke izražavaju nerazrešivu napetost između špijuniranja drugih i bivanja predmetom špijunaže.

Delimično filmske, a delimično forenzičke, fotografije odišu osećajem nelagode kojim je ispunjena i Alvarova knjiga. One postaju zlokobna pozadina dokumentarnog materijala koji je Tanini sakupio i zagonetni odjeci osećanja ljudi koje je susreo tokom svog istraživanja. Pojavljujući se iz ovog oskudnog pejzaža kao slabo povezano i nejasno definisano tkanje dokumenata, to biografskih zapisa, nađenih slika i portreta, sudbine žrtava Štazija ponovo oživljavaju kao fragmentarne, ali ubedljive i interaktivne priče.

Strukturiran kao složeni mozaik tragova i nagoveštaja, H. je rekao da nas voli suptilo upozorava na zlu i cikličnu prirodu svakog totalitarizma, pri tome ne namećući jednostrane predstave i klišee. Istovremeno, ova izložba budi duhove zastrašujuće istorijske realnosti koja je vladala u NDR i ne samo NDR ‒ realnosti koja je bila smišljeno izostavljena iz mitova na kojima se zasniva evropsko jedinstvo post-hladnoratovske ere.

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XX ceNTuRy – Goran Kukic

Shoppinc Center Usce

1st – 14th of April 2017.

ceNTuRy (RecycLiNG MeMORieS) is a cycle that enabled the artist to develop his inventive playful- ness in morphologicaly overloaded art phrase, located in the visual field and to find a certain order in these intertwining elements. A row is enthroned by common denominator of everything that was found in the visual field of the artist: Translation of a worn indirect world into the world of the rich artistic importance, in up- grading the futility with a new meaning – the artistic fullness in which the seen manifests with miraculous dynamism, breakable line that moves our view. In the delta of our vision everything moves to the spectrum of the seen, which frees the idea that is incorporated into the artist's work and that becomes the basis for an aesthetic experience that enriches and deepens our life. In this cycle, perhaps, Goran Kukic showed the strongest side of his imagination, the power to reduced the rhythmical breakages to a single image, a sentence of faulkner’s internal dispersion. However, Kukic despite all these divergences, brings in the order, finds a central point from which all the scenes form a line. In some of the pictures we will find old fiat, in others doll with sculpted female figure, or discarded ottoman, and even a doll with a delicate male character or pruned tree branches, finally, as a subject in his sentence we will find a Santa Claus.

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